Seen June 30 2015, Tom Patterson Theatre, Stratford Ontario (first preview)
Written by Sophocles, translated by Stephen Berg and Diskin Clay
Directed by Daniel Brooks
When leaving the Tom Patterson Theatre last night, a gentleman behind us remarked ‘I hope this gets good reviews. I liked it.’. Let’s see what I can do about that, even though I doubt he was talking about amateur blogs.
The play is a rather short one, running one hour 45 minutes. It also sports the longest list of warnings I can remember having seen at the entrance, ranging from the usual haze, smoke and profanity to prolonged full nudity. There is no Intermission, so consider braving the washroom queue.
I thought the story of Oedipus was well-known, but overhearing some patrons in the theatre, it seems a spoiler warning is needed after all. I am also going to massively break my ‘no production spoilers’ rule, so be warned. Please bear in mind that this was the first preview, so things might still be tweaked.
At the start of the play, there’s a metal rolling table with matching desk chair on stage, with 6 (I think) chairs on either long side of the thrust stage. Those are used throughout the play as needed, along with very few other props.
Gord Rand’s king Oedipus appears in an egg shell coloured suit, in stark contrast to the dark grey suited citizens. The entire setting looked a lot like a CEO meeting with members of the board, although the percentage of women would have been too optimistic for that. For quite some time, Oedipus and the red robed priestess are the only ones wearing colour.
Yanna McIntosh and Lally Cadeau get to wear blue for a short time and Jocasta and Oedipus’ young daughters Antigone and Ismene innocent white. Along with some dramatic red lighting when things get bloody, the only other splash of colour is Nigel Bennett’s Teiresias who is a true ray of hippyish sunshine in the play’s sea of grey and proves the saying that there are no small parts right once again.
The industrial corporate setting is supported by a repetitive, monotone sound design that frankly started to grate very early on. At least it allowed my poor sister who caught a cold to sneeze and blow her nose undetected once she had figured out the pattern. I was sitting right next to her and was suprised about the amount of tissues amassed at the end.
The other thing I wasn’t too thrilled about falls into the sound category as well. Having the citizens use a microphone for their declarations seemed unnecessary and frankly was mixed so poorly, especially when Brad Hodder was at the mic, that it was physically painful.
The performances were solid across the board with Nigel Bennett standing out as mentioned above, as well as Christopher Morris. Actually, his portrayal of steadfast Kreon was what I would have liked to see in Hamlet’s Horatio.
However, all the cast’s combined effort would have been naught without titular Oedipus pulling his weight. Gord Rand really knocked it out of the park and was believable from brash, almost arrogant king in the beginning, growing more and more nervous throughout the play. The desparation brought on by having his suspicions confirmed right up to the jarring finale that has Oedipus blind, bleeding and naked begging to be banished to save the people of Thebes from the plague had everyone at the edges of their seats. Cudos also to the make up department; I couldn’t entirely figure out how the eyes were done for the finale.
All in all, it was a good production elevated by a phenomenal lead actor. I’m looking forward to reading the reviews to see if anything changed once the play officially opens. For now, I am glad we decided to stay in Stratford long enough to catch Oedipus Rex and Possible Worlds.